UC-NRLF 


LES  POINTS  DE  FRANCE 


GIFT  OF 


Les  Points  de  France 


OF    THIS    BOOK 

AN    EDITION  OF    1000    COPIES    WAS    PRINTED 
APRIL,    MCMXII 


INTERNATIONAL  EXHIBITION 

1900  -  PARIS 

RETROSPECTIVE    COLLECTION 
CLASS  84  '  LACE 

REPORT  OF 

MONSIEUR  ERNEST  LEFfiBURE 
SECRETAIRE  DU  CONSEIL  DU 
MUStiE  DES  ARTS  DfiCORATIFS 
FABRIQUANT  DE  DENTELLES 
8  RUE  DE  CASTIGLIONE,  PARIS 

TRANSLATED  BY 

MARGARET  TAYLOR  JOHNSTON 

NEW  YORK,  MCMXII 


I.    MEDALLION,    LE    ROI    SOLEIL    (LOUIS    XIV) 

STYLE    OP    BERAIN.      FIRST    PERIOD    OP   THE    POINTS    DE  PRANCE 
COLLECTION    OP    MADAME    PORGE8 


Les  Points  de  France 


BY 


ERNEST  LEFEBURE 


TRANSLATED    BY 


MARGARET  TAYLOR  JOHNSTON 


NEW  YORK  :  MCMXII 


» 

*• 


COPYRIGHT    APRIL    MCMXII 

BY 
MARGARET    TAYLOR    JOHNSTON 


Gift 


CONTENTS 

PAGE 

LIST  OF  ILLUSTRATIONS  i3 

PREFACE       By  Margaret  Taylor  Johnston  17 

LES  POINTS  DE  FRANCE       By  Ernest  Lefebure  25 


552790 


ILLUSTRATIONS 

PAGE 

i.  MEDALLION,  LE  ROI  SOLEIL  (Louis  XIV)          8 

Style  of  Berain.     First  period  of  the  Points  de  France 
Collection  of  Madame  Forges 

II.    GUIPURE  AND  CUTWORK        .          .          .          .          •         22 

Sixteenth  century 

Collection  of  Monsieur  I'abbe  Bert 

in.  MAGASIN  DE  DENTELLES.   LA  GALERIE  DU 

PALAIS       .       .       .       .       .       .       .       .       .       29 

By  Abraham  Bosse 
Bibliotheque  Rationale 

iv.   PORTRAIT  OF  COLBERT       .       .       ,       .       .       34 

Bibliotheque  nalionale 

v.  GUIPURE  IN  HIGH  RELIEF,  VENETIAN  STYLE      38 

Seventeenth  century 
Collection  of  Madame  Porges 

vi.  ALTAR   FRONTAL  OF  GUIPURE   IN   RELIEF, 

FRAMING   THE   FIGURE    OF   SAINTE   THERESE          ^O 

Seventeenth  century 
Collection  of  Madame  Porges 

vii.  POINT  DE  FRANCE         .       .       .      •.*     .       .      44 

Seventeenth  century 
Collection  of  Monsieur  Ikle 


C  '4  1 

viii.  RABAT  OF  POINT  DE  FRANCE,  WITH  FIG- 
URES, DOLPHINS,  AND  WARLIKE  ATTRI- 
BUTES  47 

Second  half  of  the  seventeenth  century 
Collection  of  Madame  Porges 

ix.  BORDER  OF  POINT  DE  FRANCE  5o 

Seventeenth  century 
Collection  of  Madame  Porges 

x.  FLOUNCE  OF  BOBBIN-LACE.  EAGLES  ADOR- 
ING THE  SUN 54 

End  of  seventeenth  century 
Metropolitan  Museum  of  Art 

XI.  DEEP  BORDER  FOR  AN  ALB  OF  POINT  DE 

FRANCE 55 

Period  of  Louis  XIV 

Collection  of  Monsieur  I'abbe  Bert 

xii.   DEEP  FLOUNCE   OF  POINT  DE  FRANCE    .      58 

End  of  seventeenth  century 
Collection  of  Madame  Lionel  Normant 

xiii.  DEEP   FLOUNCE   OF   POINT  DE   FRANCE  .      5g 

Early  eighteenth  century 
Collection  of  Madame  Doislau 

xiv.   RABAT  OF  BOBBIN-LACE 62 

End  of  seventeenth  century 
Collection  of  Madame  Doislau 

xv.  DEEP  FLOUNCE 63 

Period  of  the  Regency 

First  half  of  the  eighteenth  century 

Metropolitan  Museum  of  Art 


xvi.  RABAT  OF  POINT  DE  FRANCE   .  '  .   .   66 

Period  of  the  Regency 

Collection  of  Madame  Comely.     Now  at  the  Musee  des 
Arls  decoratifs 

xvii.  POINT  DE  FRANCE 67 

Period  of  the  Regency 
Collection  of  Madame  Porges 

xvni.   RABAT  OF  BOBBIN-LACE.  DESIGN  OF  PEA- 
COCKS AND  PAGODAS 70 

Period  of  Louis  XV 
Collection  of  Madame  Doistau 

xix.  RERTHA,  NEEDLE-POINT.  DESIGN  OF 
HUNTSMEN  AND  OTHER  MOTIVES  IN  THE 
STYLE  OF  DRESDEN  CHINA  .  .  .  .  71 

Period  of  Louis  XV 

Collection  of  Madame  la  comtesse  Foy 

xx.   FLOUNCE  OF  POINT  D'ARGENTAN        .       .       76 

Style  of  Louis  XV 

Middle  of  the  eighteenth  century 

Musee  des  Arts  decoratifs 

xxi.  FLOUNCE  OF  POINT  D'ARGENTAN       .       .       77 

Style  of  Louis  XVI 

Latter  half  of -the  eighteenth  century 

Musee  de  la  Chambre  de  Commerce  de  Lyon 

xxii.   STOMACHER 82 

First  Empire 

Collection  of  Madame  Porges 

xxin.   SCARF 84 

Period  of  the  Directory 

After  a  photograph  in  the  Musee  des  Arts  decoratifs 


prf  />        «— * 

L->  <J 

xxiv.   BEDSPREAD  FROM  LA  MALMAISON  .       .      87 

From  a  photograph  in  the  Library  of  the  Masee  des  Arts 
decoratifs 

xxv.  FROM  AN   ENGRAVING   IN  THE   MUSEE 

CARNAVALET     ..'-.'      .       .       . .      .       .      89 

xxvi.  ADDRESS  OF  A  LACE-MERCHANT      .       .      91 

Period  of  Louis  XVI 

xxvu.   QUEEN  MARIE-AMELIE        .       .       .       .      96 

Painting  by  Winterhaller 
Masee  de  Versailles 

xxvin.  BOOK-COVER  IN  POINT   COLBERT  AND 

POINT  D'ARGENTAN       .       ...       .      99 

Nineteenth  Century 
Library  of  the  Vatican 

xxix.   WINDERS  FOR  LACE       .....    100 

Musee  du  Trocadero 


Preface 

BY   THE   TRANSLATOR 

_N  important  part  of  the  artistic  life  of  Paris  consists 
of  the  loan  collections  which,  from  time  to  time,  bring  into 
view  the  private  treasures  of  the  nation,  and  interesting 
indeed  is  the  company  of  connoisseurs  who  assemble  for  the 
Private  View. 

The  exhibition  0/1900  thus  brought  together  many  of 
the  more  important  French  laces,  and  notably  the  Points 
de  France  of  the  period  of  Louis  XIV,  marvels  of  work  and 
design,  created  at  the  command  of  the  King  and  of  his  great 
minister  Colbert,  from  Venetian  tradition  and  inspiration. 

An  interesting  brochure  by  Monsieur  Ernest  Lefebure 
was  written  at  that  lime  for  private  distribution,  to  explain 
the  origin  of  these  beautiful  laces.  It  is  much  to  be  regretted 
that  this  booklet  is  now  entirely  out  of  print,  for  it  gives  a 
simple  and  conseculive  account  of  the  great  period  of  lace- 
making  in  France,  and  of  the  evolution  of  a  new  and  char- 
acteristic French  style  from  the  earlier  Venice  Points ,  on 
lines  adapted  to  lace  by  leading  artists  of  the  day  —  Le- 
brun,  Berain,  Bailly,  Bonnemer.  The  large  number  of 
illustrations,  correctly  named  as  to  both  kind  and  period, 
makes  this  pamphlet  a  little  gallery  of  art,  which  should 


reach  many  who  may  never  have  the  rare  chance  and 
pleasure  of  being  in  Paris  daring  the  few  weeks  when  a 
loan  collection  is  on  exhibition.  An  even  more  extensive 
collection  of  laces  was  shown  in  1906  at  the  Musee  des 
Arts  decoratifs,  a  museum  that  owns  several  very  beautiful 
Points  de  France. 

It  therefore  seems  a  valuable  contribution  to  the  litera- 
ture of  lace,  to  translate  some  few  of  these  interesting  pages 
for  an  American  public,  which  already  has  a  number  of 
specimens  at  hand  in  our  own  Metropolitan  Museum  of 
Art  in  New  York.  A  very  few  years  ago,  these  Points  de 
France  were  as  entirely  beyond  our  reach  as  the  Memtings 
or  Botlicellis  of  European  galleries;  but  generous  gifts 
and  bequests  have  started  an  historic  sequence,  which  the 
future  will  certainly  complete. 

MARGARET  TAYLOR  JOHNSTON 

New  York  —  Paris,  1912. 


Chapter  I 


II.    GUIPURE    AND    CUTWORK 

SIXTEENTH    CENTURY 
COLLECTION    OP    MONSIEUR    L'ABBE    BERT 


Les  Points  de  France 


HAND-MADE  LACE 
CHAPTER  I 

Lace  before  the  time  of  Colbert 


TH 


E  Retrospective  Exhibition  held  in  Paris  in 
1900,  included  in  its  broad  program  all  branches  of 
human  activity.  Such  a  colossal  task  could  with  dif- 
ficulty be  wholly  successful  in  the  precipitate  haste 
which  reigns  during  the  installation  of  an  Interna- 
tional Exhibition.  Much  effort  is  required  to  attract  to 
these  great  international  fairs  the  commercial  manu- 
factures of  the  day,  but  still  greater  effort  is  required 
to  obtain  specimens  of  ancient  date,  jealously  guard- 
ed by  collectors,  who  often  will  not  part  with  them 
at  any  price,  nor  will  they  lend  them  without  much 


[     34     ] 

solicitation,  always  fearing  loss  and  injury.  On  this 
occasion,  many  contributors  were  notified  too  late, 
or  had  not  understood  that  the  Retrospective  Centen- 
nial Exhibition  was  not  limited  to  the  products  of  the 
nineteenth  century.  Under  these  conditions,  a  number 
of  collectors  did  not  assist  in  perfecting  the  Exhibi- 
tion, as  they  might  have  done  under  more  favorable 
circumstances.  Many  sections  —  and  notably  that  of 
Lace  —  showed  blank  spaces  which  prevented  the 
public  from  obtaining  a  complete  understanding  of 
these  industries  from  their  origin  to  the  present  day. 
This  is  the  more  to  be  regretted,  as  specimens  of 
the  comparatively  recent  art  of  lace  might  have  been 
brought  together  far  more  easily  than  examples  of 
other  arts  the  past  of  which  must  be  sought  in  the 
dusk  of  ages. 

We  seek  therefore  to  fill  some  of  these  blank  pages. 

Lace  does  not  seem  to  have  attained  to  the  im- 
portance of  an  industry  before  the  fifteenth  century. 
Those  who  have  written  upon  this  subject  since 
Mrs.  Bury-Palliser,  the  first  author  who  went  into  it 
seriously,  have  found  no  trace  of  lace  in  pictures  or 
in  sculpture  antedating  this  period.  Scant  use  would 
there  have  been  for  lace  in  those  days,  when  linen 
was  both  rare  and  coarse.  It  is  said  that  Charles  the 
Simple,  who  died  in  929  A.D.,  possessed  but  three 
shirts!  And  when  Isabeau  de  Baviere  in  i385  A.  D., 


coming  to  marry  King  Charles  VI,  brought  three 
dozen  chemises  in  her  trousseau,  at  the  court  of 
France  this  was  thought  an  extraordinary  degree  of 
luxury. 

It  is  through  fine  embroidered  linen  that  lace 
stitches  first  came  into  use.  The  returning  Crusaders 
brought  with  them  many  things  which  initiated  the 
French  nobility  into  the  luxury  of  the  Orient.  And 
when  Francis  I  returned  from  his  expedition  to  Italy, 
where,  said  he,  "All  is  lost  save  Honor"  (tout  fors 
Fhonneur),  he  had  acquired  a  taste  for  the  beautiful 
linen-works  and  rich  trimmings,  the  fashion  of  which 
was  beginning  to  spread  in  the  opulent  provinces 
of  Genoa,  Florence,  and  Venice,  where  princes  and 
artists  were  ardently  encouraging  the  Renaissance  of 
all  the  arts. 

The  fine  linen  embroideries  in  openwork,  drawn- 
work,  and  cutwork,  finished  with  round  or  pointed 
edges,  first  showed  the  need  of  lace.  Such  words  as 
lace,  needle,  point,  bobbins,  have  undoubtedly  an  Ital- 
ian sound.1 

1  This  is  said  of  the  French  rather  than  of  the  English  words. 
Lace  —  (Hal:  trina,  merli-  Fr  :  dentelle)      Point  —  (Punto-le  point) 
Needle  —  (Ago  or  aco-  aiguille)  Bobbins  —  (fusselli-fuseaux) 

Modern  criticism  attributes  increasingly  to  Italy  the  origin  of  the  beautiful 
linen-works  which  led  up  to  needle-point  lace.  These  were  being  slowly 
evolved  for  a  century  or  more,  before  the  great  cinque  cento  (sixteenth  cen- 
tury), when  the  perfecting  of  the  manufacture  of  needles  and  theprintingof 
the  Pattern  Books  caused  these  embroideries  to  spread  rapidly  throughout 
Europe,  where  they  became  the  work  of  all  classes  of  society. 


c  26 : 

From  its  first  appearance  lace  was  used  as  extensive- 
ly at  the  Court  of  France,  as  at  the  Courts  of  Germany, 
England,  and  Spain,  then  dominant  in  Flanders.  It 
also  seems  to  have  been  worked  everywhere  with  the 
needle,  or  bobbins,  at  about  the  same  period,  but 
through  local  influences  brought  to  bear  upon  the 
workers,  important  centers  of  production  were  estab- 
lished, which  surpassed  all  other  places.  Many  de- 
signs were  obtained  from  Italian  artists  who,  in  com- 
petition with  each  other,  produced  the  Pattern  Books 
(recueils  de  dessins)  now  so  rare,  the  best  known  of 
which  is  called  Les  singuliers  et  nouveaux  pourctraits 
et  ouvrages  de  lingerie  .  .  .  dedies  a  la  Royne,  par  le 
signor  Vinciolo.1 

In  France,  where  all  industry  was  controlled  by  cor- 
porations, or  guilds,  it  was  the  makers  of  passements 


1  An  incomplete  list  of  those  books  is  to  be  found  in  Mrs.  Bury-Palliser's 
HISTORY  OF  LACE,  and  in  BROIDERIES  ET  DENTELLES  by  M.  E.  Lefebure. 

Frederic  Vinciolo,  "  Venitien,"  as  he  styles  himself,  left  Venice  for  Paris, 
and  drew  designs  for  the  queens  and  great  dames  of  France,  in  the  late  six- 
teenth and  early  seventeenth  centuries.  His  book  (divided  into  two  parts  — 
filet  brode,  and  point  coupe,  or  poinct  de  couppe  in  the  sixteenth  century 
spelling)  passed  through  many  editions,  and  through  his  many  plagiarists 
in  Germany  and  England  he  influenced  the  entire  production  of  the  North, 
while  Franco,  Vecellio,  Parasole,  Passerotti,  and  many  other  artists  and  de- 
signers drew  for  the  workers  of  the  South. 

Vinciolo  classes  many  kinds  of  work  under  the  single  name  of  cutwork 
(point  coupe),  making  no  attempt  to  translate  the  Italian  term  reticello  — 
narrow  lines  of  geometric  openwork,  and  the  rosaces  of  increasing  size  and 
importance — which  attained  to  their  most  extravagant  development  in  the 
ruffs  of  Marie  de  Medici  and  Queen  Elizabeth.  Note  by  the  Translator. 


C  27  H 

(passemeiitiers)  who  had  the  monopoly  of  the  new 
production,  and  the  first  laces  were  therefore  called 
passements. 

We  will  not  treat  in  detail  the  history  of  lace  under 
the  Valois.  Its  deep  pointed  edges  were  seen  border- 
ing the  ruffs  (fraises)  which  framed  the  heads  of  the 
noble  dames  and  courtiers .  In  the  early  days  of  the  art, 
few  and  rare  were  the  pictures  and  portraits  which 
showed  on  the  raiment  a  decoration  at  all  resembling 
lace ;  but  from  the  time  of  Francis  I,  it  was  everywhere, 
and  we  find  numerous  and  interesting  examples  of  the 
succeeding  styles.  During  the  reigns  of  Henry  II 
(iS^v),  Francis  II(i559),  Charles  IX  (i56o),  and  Henry 
III  (1674),  the  Queens  Catherine  de  Medici  and  Mary 
Stuart  left  abundant  evidence  of  their  love  for  lace. 
They  introduced  the  squares  of  embroidered  net  and 
guipure,  with  cut  work  squares  worked  into  the  linen, 
which  since  that  time  have  been  so  much  used  for 
household  furnishings.  Henry  IV,  a  jovial  prince, 
would  also  have  patronized  the  lace-making  art,  but 
he  was  restrained  by  his  Minister  Sully,  who  with  Hu- 
guenot austerity  said  to  him,  "  What  you  need  are 
iron  and  soldiers,  rather  than  silks  and  laces  for  de- 
corating your  gallants."  Under  Louis  XIII,  luxury 
knew  no  bounds,  in  spite  of  the  numerous  edicts  for 
the  restriction  of  extravagance.  We  are  reminded  that 
Cinq  Mars  had  three  hundred  sets  of  collars  and  cuffs 
of  lace,  when  he  was  arrested  by  Richelieu. 


C  28  ] 

The  fashion  for  the  plaited  collars  worn  under  the 
Valois,  changed  to  that  of  large  flat  collars,  show- 
ing well  the  design  of  the  lace,  which  was  also  used 
for  the  cuffs,  and  even  for  the  boots.  Very  accurate 
information  as  to  the  laces  worn  at  this  period  is  to 
be  found  in  the  interesting  engravings  of  Abraham 
Bosse;  they  show  the  costumes,  and  even  the  shops 
with  their  wares  displayed. 

It  is  under  Louis  XIV,  and  his  great  minister  Col- 
bert, however,  that  we  find  the  highest  achievement 
in  lace-making  in  France.  It  is  here  that  we  willingly 
pause  in  our  story,  for  examples  of  the  most  beautiful 
needle-points  of  this  period  were  shown  at  the  Retro- 
spective Exhibition  of  igoo.1 

1  A  copy  of  the  French  pamphlet  has  been  given  by  the  author  to  the 
Library  of  the  Metropolitan  Museum  of  Art. 

Part  II,  Machine-lace,  is  omitted  in  this  translation.  A  few  of  the  illus- 
trations of  Part  I  in  the  original  booklet  not  being  available,  these  have 
been  replaced  by  the  enlarged  size  of  others,  and  by  three  laces  from  the 
collection  of  the  Metropolitan  Museum.  Note  by  the  Translator, 


III.    MAGASIN    DE    DENTELLES.      LA    GALERIE    DU    PALAIS 

BY    ABRAHAM    BOSSE 
BIBLIOTHEQUE    NATIONALS 


Chapter  II 


x  ''  '  ^}arift  Ic,  3i  •  Cfifut  jtf^d.jfftfrt  ho.  Sept-  1683  • 


^l  '.(/li.rt.  ni+,iilnfau  Luiermert  P.CcirJitre  iait 


IV.    PORTRAIT   OF   COLBERT 
BIBLIOTHEQUK    NATIONALS 


CHAPTER  II 

Lace  from  the  time  of  Colbert  to  the  Revolution 


HEN  Colbert  founded  the  Royal  Manufactor- 
ies, his  intention  was  that  they  should  excel  in  those 
branches  where  French  supremacy  was  the  least  as- 
sured. Porcelains,  mirrors,  and  furniture  received 
his  most  earnest  attention,  and  even  greater  thought 
was  expended  upon  lace  and  tapestry. 

Investigation  into  the  subject  of  the  lace-making 
art  showed  that  the  industry  already  existed  in  several 
provinces  of  France,  but  that  very  inferior  work  was 
produced.  Colbert  found  that  in  the  great  luxury  at 
the  Court  of  Versailles,  the  costly  rabats  of  Venice 
Point,  worn  by  the  most  fastidious  of  the  courtiers, 
were  brought  at  great  expense  from  Italy.  His  efforts 
were  therefore  directed  to  perfecting  the  manufacture 
by  furnishing  the  necessary  means  for  learning  to 
make  as  good  needle-point  lace  as  that  of  Venice.  His 
correspondence  with  Monsignore  de  Bonzy,  the  royal 
ambassador  to  the  Venetian  Republic,  gives  every  de- 
tail of  this  enterprise. 

In  Paris,  the  first  manufactory  was  established  in 
the  Hotel  de  Reaufort.  Rut  it  was  at  Alengon  and  Ar- 


C   36   3 

gentan  that  the  industry  was  most  firmly  implanted, 
and  threw  out  roots  strong  enough  to  survive  until 
the  present  day,  although  after  the  death  of  Colbert, 
it  lacked  the  powerful  protection  which  had  guarded 
its  early  years. 

The  first  laces  were  made  under  the  direction  of  lace- 
makers  brought  from  Venice,  and  were  worked  in  ex- 
actly the  same  way  as  those  produced  in  the  city  of  the 
Doges.  Colbert  was  so  well  pleased  that  he  wrote  to 
his  ambassador,  ' '  I  can  now  say  that  collars  worked 
in  relief  are  produced  in  this  realm,  which  are  as  beau- 
tiful as  those  of  Venice."  l  This  explains  the  hesita- 
tion of  connoisseurs  in  attributing  to  Venice,  or  to  our 
French  manufacture,  the  few  rare  and  beautiful  speci- 
mens of  this  period  still  extant,  such  as  the  splendid 
rabat  at  the  Musee  de  Cluny. 

We  must  here  note  that  in  the  sixteenth,  seven- 
teenth, and  eighteenth  centuries,  men  wore  as  much 
lace  as  women,  and  were  as  much  interested  in  the 
quality  of  the  work  as  were  the  great  dames  themselves. 
It  is  to  this  two-fold  interest,  no  longer  existing,  that 
lace  owed  its  high  standard  of  perfection,  from  the  time 
of  Colbert  to  the  Revolution.  The  century  between 

1  The  Colbert  correspondence  with  reference  to  the  Points  de  France  was 
first  published  in  the  third  edition  of  Mrs.  Bury-Palliser's  HISTORY  OF  LACE, 
1876  —followed  by  Seguin,  E.  Lefebure,and  Madame  deLaprade,  LE  POINCT 
DE  FRANCE,  all  adding  their  quota  of  knowledge  through  the  study  of  the 
documents,  as  well  as  the  laces,  of  this  great  epoch  in  the  art  of  lace  in 
France.  Note  by  the  Translator. 


-J ••-.3 


1 665  and  1780  can  be  called  the  Golden  Age  of  lace, 
and  nothing  has  surpassed  the  production  of  this 
wonderful  period. 

The  Retrospective  Exhibition  showed  an  altar 
frontal,  in  the  collection  of  Madame  Porges,  which 
gives  a  clear  idea  of  the  laces  resembling  the  rich 
Venice  Points,  but  worked  in  France  at  the  time  of 
Colbert.  The  figure  of  Sainte  Therese  clasping  a  cru- 
cifix is  in  the  center,  framed  by  a  design  of  flowered 
scrolls  in  relief. 

The  same  collection  has  another  piece  of  similar 
work,  but  earlier  in  date.  The  flowers  are  certainly 
drawn  under  Venetian  influence,  but  they  are  sur- 
rounded by  a  rich  foliage  which  recalls  the  beautiful 
velvet  coverings  for  furniture  made  during  the  reign 
of  le  Grand  Roi. 

A  few  designs  during  the  eighteenth  century  still 
followed  the  Italian  tradition,  and  it  is  to  this  period 
that  the  square  collar  (col  a  plastron)  of  the  Doistau 
Collection  can  be  attributed,  in  wThich  the  branching 
scrolls  are  entwined  with  a  crown.  But  the  artists  of 
the  Louvre,  charged  with  the  task  of  designing  for  the 
Royal  Manufactories,  soon  freed  themselves  from  all 
foreign  influence,  and  created  those  exquisite  laces, 
so  truly  named  by  the  King  himself,  '  *  Les  Points  de 
France." 

Another  beautiful  fragment  of  this  period  was  shown 
in  the  Porges  Collection,  only  a  part,  perchance,  of  a 


c:  42 : 

more  important  whole,1  but  as  it  now  exists,  form- 
ing a  motive  complete  in  itself.  (Frontispiece.)  In 
the  center  is  enthroned  The  Royal  Sun  (Le  roi  soleil, 
Louis  XIV),  surmounted  by  a  sort  of  dai's,  and  flanked 
on  either  side  by  trophies  formed  of  crossed  swords 
and  standards.  Never  was  better  use  made  of  the  com- 
bined artistic  resources  of  needle-point  lace !  From 
a  grounding  of  grands  reseaux  picotes,2  an  ideal 
architecture  detaches  itself,  forming  a  charming  frame 

1  A  deep  flounce  of  this  design,  five  or  six  meters  in  length,  from  the  col- 
lection of  Madame  Rigaud  is,  at  the  moment  of  writing,  on  exhibition  at 
the  Lyceum  Club  of  Paris,  in  a  small  loan  collection  of  laces,  fans,  and  mini- 
atures, brought  together  by  the  President  of  the  Club,  the  Duchesse  d'Uzes 
douairiere. 

The  motive  of  the  Royal  Sun  is  seven  times  repeated,  with  the  arms  and 
the  ideal  architecture;  accentuations  of  relief  in  the  deep  pointed  border 
appear  to  weigh  down  the  folds  of  lace.  Nothing  more  charming  could  be 
imagined!  The  artists  of  the  Louvre,  to  whom  was  confided  the  task  of 
creating  the  new  style  of  the  Points  de  France,  adapted  the  massive  archi- 
tectural lines  of  the  period  of  Louis  XIV,  to  the  delicate  technique  in  which 
they  were  to  be  reproduced,  a  lighter  effect  also  found  in  many  of  the  Vene- 
tian laces  of  the  end  of  the  century.  But  men  of  lesser  ability  in  the  early 
eighteenth  century  often  lost  this  perfect  sense  of  the  proportion  of  design 
and  grounding.  Note  by  the  Translator. 

2  The  grande  bride  picote"e  grounding  of  the  Points  de  France,  is  an  hex- 
agonal mesh  buttonholed  on  each  side,  further  enriched  with  one  or  two 
picots  or  knots.  This  is  an  extension  of  the  earlier  single  bride  that  united 
the  various  parts  of  the  design ,  when  it  was  not  self-supporting,  and  explains 
the  use  of  the  term  dentelles  a  fond  de  brides,  which  we  so  often  find  applied 
to  these  laces  of  Venice  and  France,  of  the  central  or  barocco  period,  suc- 
ceeding that  of  geometric  or  conventional  design,  and  preceding  the  use  of 
many  groundings  in  the  eighteenth  century  laces.    Note  by  the  Translator. 


Sg 
g  a 

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c  45 ] 

for  the  triumphant  emblem  of  the  Sun,  which  is  made 
more  effective  by  its  surroundings.  The  lines  are 
formal  but  light ;  a  delicate  embroidery  in  relief,  used 
with  consummate  art,  accentuates  the  important  parts, 
and  gives  to  the  whole  a  feeling  of  distinction  which 
has  never  been  surpassed. 

The  fact  cannot  be  contested  that  these  Points  de 
France  of  the  great  epoch  of  the  Royal  Manufactories, 
are,  from  the  point  of  view  of  artistic  composition, 
infinitely  superior  to  the  whole  production  of  Venice, 
which  is  restricted  to  an  ever-recurring  arrangement 
of  scrolls  more  or  less  elaborately  worked. 

The  marriage  of  the  grandson  of  Louis  XIV,  the 
young  Duke  of  Bourgogne,  to  the  Princess  Marie- 
Adelaide  of  Savoy,  was  the  union  of  two  children,  the 
duke  being  fourteen,  and  his  betrothed  but  eleven 
years  of  age.  The  Points  de  France  made  for  this  oc- 
casion are  represented  by  a  charming  little  piece  in 
the  Ikle  Collection .  It  is  a  square  which  may  have  been 
used  for  a  jabot.  The  work  is  similar,  and  the  design 
has  the  same  characteristics  as  the  preceding  one,  but 
already  there  is  less  distinction  and  precision  in  the 
style ;  the  composition  is  more  mannered,  although  it 
retains  its  former  elegance.  A  princess,  sitting  under 
a  dai's  in  the  center,  seems  to  be  playing  on  a  harp- 
sichord or  organ.  A  little  prince  behind  her  is  sing- 
ing, perchance,  as  beautifully  as  the  bird  on  the  other 
side;  two  figures  higher  up  play  on  other  instruments 


c:  *6 : 

—  the  courtier  on  the  violin,  and  the  lady  in  front 
on  a  little  lyre  or  harp;  below  another  lady  and  gentle- 
man sing,  each  holding  a  piece  of  music,  and  two 
musicians  play  the  violoncello  and  the  castanets,  while 
a  child  kneeling  offers  flowers.  All  is  gay  and  spark- 
ling, and  in  proportions  which  suit  admirably  the  piece 
of  lace. 

The  specimen  of  similar  shape  in  the  Forges  Collec- 
tion is  even  more  remarkable.  In  the  center  stands 
a  young  man,  dressed  as  a  warrior  of  ancient  days ; 
the  helmet,  with  a  double-headed  eagle,1  is  surmount- 
ed by  the  closed  crown  of  a  royal  prince,  supported 
by  two  cherubs  ;  higher  still  a  little  Bacchus  is  astride 
a  cask.  On  the  right  and  left  are  dolphins  (dauphins), 
side  by  side,  which  emblem  clearly  indicates  that  the 
design  is  meant  for  the  heir  to  the  throne.  Two  child- 
ren, like  the  one  mentioned  in  the  preceding  piece, 
kneeling  offer  gifts.  Genii  float  in  the  delicate  foliage, 
bringing  palms  and  crowns.  These  are  destined 
for  the  two  young  warriors  with  helmets,  standing 
lower  than  the  more  important  figure,  who  walks  tri- 
umphant over  a  mass  of  arms  and  standards !  This 
is  evidently  the  Dauphin,  son  of  Louis  XIV,  here  re- 
presented in  triumph  with  his  two  sons,  the  Duke  of 

»  This  figure  with  the  double-headed  eagle  is  seen  in  the  Oeuvres  com- 
pletes of  Berain  in  the  Library  of  the  Musee  des  Arts  decoratifs,  Paris.  Note 
by  the  Translator. 


IX.    BORDER    OP    POINT    DE    FRANCE 

SEVENTEENTH    CENTURY 
COLLECTION    OF    MADAME    FORGES 


C   5i    ] 

Bourgogne  and  the  Duke  of  Anjou,  dressed  as  young 
warriors. 

From  the  same  collection,  the  long  piece  of  lace  cut 
away  at  either  end,  must  have  been  intended  for  a 
dressing-table.  It  is  a  fine  specimen  of  the  reign  of 
Louis  XIV.  Again  we  find  the  dolphins,  and  as  a  cen- 
tral motive,  several^ times  repeated,  a  lady  leaning  on 
a  long  cane  and  fanning  herself.  Other  figures,  some 
half-length,  some  standing,  carry  baskets  of  fruit,  and 
together  with  dogs  and  birds,  move  about  in  a  back- 
ground of  flowers  full  of  charm  and  poetry. 

Three  more  splendid  Points  de  France,  of  similar 
style  and  technique,  were  shown  in  the  Retrospective 
Exhibition.  In  size  they  far  surpass  those  which  have 
been  described,  as  they  are  deep  flounces  measuring 
more  than  60  centimeters  in  depth,  with  a  length  of 
3  meters,  3o  centimeters.  These  laces  served  as  trim- 
ming for  the  rochets  and  albs  of  the  prelates,  the  coun- 
terparts of  which  are  seen  in  the  portraits  of  Bossuet, 
Fenelon,  and  other  bishops,  painted  by  Hyacinthe 
Rigaud  and  Nattier.  These  deep  flounces  have  not  the 
figures  and  emblems  of  the  laces  intended  for  the  use  of 
the  Princes  of  the  Blood  Royal. 

The  specimen  belonging  to  the  Abbe  Bert  is  cer- 
tainly designed  in  the  same  style  as  the  beautiful  me- 
dallion of  the  Sun  in  the  Porges  Collection,  with  its 
vases  of  flowers  surmounted  by  a  canopy  of  garlands. 

The  rochet  lent  by  Madame  Lionel  Normant  is  of  a 


C   5,    ] 

later  date.  Above  are  flaming  hearts.  The  design  is 
conceived  in  the  same  spirit  as  the  beautiful  mar- 
quetry of  Andre  Boulle,  the  ebonist  of  le  Grand  Roi. 

The  deep  flounce  in  the  Doistau  Collection,  though 
worked  in  the  same  manner  as  the  preceding  one,  is 
of  an  inferior  period.  How  different  the  design!  It  is 
true  that  one  finds  motives  analogous  to  those  of  the 
Points  de  France  which  we  have  been  studying,  but 
the  composition  is  heavier,  and  it  has  lost  that  perfect 
elegance  of  the  earlier  laces,  replacing  it  with  the  ro- 
caille  arrangement  of  a  more  questionable  taste. 

It  is  now  the  period  of  the  Regency,  in  the  begin- 
ning of  the  reign  of  Louis  XV.  The  same  heaviness  of 
design  is  still  more  marked  in  the  rabat  of  Point  de 
France  in  the  Cornely  Collection 1 ;  whereas  the  flounce 
worked  with  bobbins,  belonging  to  the  Musee  des  Arts 
decoratifs,  retains  the  lightness  and  the  distinction  of 
the  period  of  Louis  XV.  To  this  heavy  style  can  be  at- 
tributed the  specimen  in  the  Porges  Collection,  and 
also  two  others  with  an  entirely  different  grounding  of 
openwork. 

We  come  next  to  the  style  of  the  Rococo,  when  the 
influence  of  Queen  Marie  Leczinska  is  felt,  Chinese 
motives  being  dominant  in  many  designs.  Madame 

1  Now  in  the  Musee  des  Arts  decoratifs.  It  is  there  called  Point  dc  Sedan, 
on  account  of  the  occasional  accentuations  of  relief,  believed  to  be  charac- 
teristic of  that  city,  to  which  are  also  attributed  the  bas  de  rochets  of  large 
flowered  designs,  with  the  grande  bride  picotee  grounding  of  the  Point  de 
France.  Note  by  the  Translator. 


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L   73   1 

Doistau  and  Madame  la  comtesse  Foy  lent  two  pieces 
of  lace  of  this  style,  which,  though  of  Flemish  origin, 
were  still  shown  in  the  Retrospective  Exhibition.  The 
first  is  a  square  rahat  worked  with  bobbins,  in  which 
are  pagodas  surrounded  by  peacocks  perched  on  flow- 
ering plants,  the  foliage  resembling  the  leaves  of  palm- 
trees.  In  the  second  we  find  to  how  great  an  extent  old 
Dresden  china  is  still  in  style.  The  designs  of  lace  thus 
inspired  have  little  kiosks  and  miniature  landscapes 
with  rocks  and  rivers,  and  dogs  and  huntsmen  pursue 
the  small  deer.  A  similar  influence  is  felt  in  the  bertha 
so  delicately  executed  in  needle-point  stitches. 

Queen  Marie  Antoinette,  in  the  beginning  of  her 
reign,  gave  a  special  impetus  to  the  production  of  lace. 
She  liked  flowers,  the  tulip  and  the  pink,  but  above  all 
others  she  loved  the  rose,  which  is  everywhere  seen 
in  garlands  entwined  with  ribbons.  The  Retrospect- 
ive Exhibition  showed  a  fine  specimen  of  these  laces 
in  the  deep  flounce  of  Point  d'Argentan,  lent  by  Ma- 
dame Verde-Delisle.  The  lace  of  this  period  has  often 
been  reproduced,  but  the  copies  have  lacked  the  special 
grace  of  this  authentic  specimen  of  a  style  the  most 
charmingly  feminine  which  has  ever  been  produced. 

The  French  laces,  we  thus  find,  were  much  es- 
teemed ;  as  proof  of  this  can  be  cited  an  unpublished 
document  in  the  library  of  the  learned  Courajod,  who 
died  some  years  ago.  It  is  a  report  on  the  commerce 
of  France  with  foreign  countries  in  the  year  1778. 


I  7*  H 

(Archives  of  M.  F.  Carnot.)  The  importations  of  lace 
into  France  amounted  to  the  sum  of  [\ 88,470  livres, 
the  greater  part  of  which,  899,600  livres,  came  from 
Flanders.  The  exportations  reached  a  total  of  8,7 82,- 
108  livres,  the  greater  number  of  which,  1,176,586 
livres,  went  to  England. 

The  laces  exported  were  point-lace  from  Alengon 
and  Argentan  (which  cities  laid  claim  to  working  the 
Royal  Point :),  Valenciennes,  Chantilly,  both  white 
and  black,  Point  de  Paris,  guipures,  and  thread  lace 
from  Le  Puy ,  where  also  laces  of  gold  and  silver  thread 
were  made.  The  exports  from  Le  Puy  were  packed 
in  cases  of  four  or  six  boxes,  each  box  containing  one 
hundred  pieces  of  the  length  of  twelve  aunes,  assorted 
according  to  the  demand,  and  ranging  in  price  from 
800  to  1 200  livres.  A  great  number  of  cases  were 
shipped  at  Havre  and  at  Cadiz  for  the  Spanish  West 
Indies.  Many  capes  and  lappets  for  head-dresses  were 
included  in  these  sales. 

The  Retrospective  Exhibition  showed  many  small 
pieces  of  lace,  barbes,  or  backs  of  caps,  of  the  period 
of  Louis  XVI. 


1  Madame  Despierres,  in  LE  POINT  o'ALENgoN,  says  that  the  name  Point 
de  France  should  be  used  only  for  the  laces  produced  during  the  ten  years 
of  the  Royal  Monopoly,  1665-1675  A.D.,  but  we  find  it  in  many  of  the  in- 
teresting documents  which  she  cites  far  on  into  the  middle  of  the  next  cent- 
ury. Many  more  documents  have  been  recently  published  in  LE  POIISCT  DE 
FRANCE,  by  Madame  de  Laprade.  Note  by  the  Translator. 


H 
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C   79  ] 

At  the  approach  of  the  Revolution,  this  prosperous 
industry  ceased.  During  the  last  years  of  her  life,  dis- 
quieted by  the  menacing  nature  of  the  passing  events, 
Marie  Antoinette  wore  none  but  the  simplest  raiment 
—  dotted  muslins — linen  trimmed  with  lace,  covered 
with  dots  and  flowers,  and  finished  with  a  narrow 
border.  As  the  shadows  darkened,  both  the  linen  and 
the  dresses  of  the  Queen  were  trimmed  with  marly, 
a  narrow  edging  covered  with  dots  or  point  d'esprit, 
and  edged  with  a  narrow  feskfh. 


Chapter  III 


XXII.    STOMACHER.      FIRST   EMPIRE 
COLLECTION    OF   MADAME    FORGES 


H     m 
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CHAPTER  III 

Lace  from  the  Revolution  to  oar  own  day 


A 


FTER  the  Revolution  came  the  Directory,  when 
David's  influence  was  supreme  in  the  world  of  art,  and 
his  style,  which  drew  its  inspiration  from  Roman  art, 
is  also  found  in  the  designs  of  lace.  The  stiffness  and 
dryness  of  the  lines  imitate  the  antique  in  a  preten- 
tious manner,  which  is  wholly  lacking  in  freedom. 

Under  the  Empire,  we  find  at  first  laces  having  only 
a  light  seme  (powder)  of  dots  and  leaves.  The  rose- 
leaf  and  the  tulip  are  now  replaced  by  leaves  of  olive 
and  laurel,  and  soon  the  Imperial  bee 1  replaces  the 
fleur-de-lis.  Nobles  of  recent  date  and  the  Noblesse 
de  F  Epee  deck  themselves  with  their  escutcheons  at 
the  fetes  given  by  Napoleon  I.  This  we  find  in  the  two 
stomachers  lent  by  Madame  Forges.  The  Imperial 
Court  strives  to  reproduce  the  luxurious  effect  of  its 
most  brilliant  period ;  everywhere  are  garlands  and 
draperies  drawn  together  with  cords  and  tassels  en- 
twined with  flowers,  which  show  their  date.  Branches 
of  oak  and  laurel,  allied  to  the  rose  of  La  Malmaison, 

1  The  bee  of  Napoleon  is  laid  flat  upon  the  grounding,  whereas  the  form 
seen  in  the  late  eighteenth  century  is  in  profile.     Note  by  the  Translator. 


C  86   ] 

distinguish  the  laces  destined  for  the  wives  of  the 
dignitaries  of  the  new  chivalry  —  the  Legion  of 
Honor. 

A  very  beautiful  flounce  in  the  collection  of  Madame 
Casimir-Perier  was  one  of  the  most  admired  laces  at 
the  Retrospective  Exhibition,  for  richness  of  design 
and  the  admirable  quality  of  work. 

Under  the  Restoration,  they  sought  to  revive  the 
traditions  of  Marie  Antoinette,  but  through  the  years 
of  the  Revolution,  and  of  the  Empire,  that  special  note 
of  elegance  which  characterized  the  period  of  Louis 
XVI  had  been  lost.  The  laces  of  the  Restoration  have 
a  large  seme  of  even  motives,  with  flowered  borders, 
wholly  lacking  in  freedom  or  charm  of  line.  The 
fleurs-de-lis  are  more  rounded,  and  the  roses,  no 
longer  studied  from  nature,  seem  stiff  and  heavy  com- 
pared to  those  of  the  preceding  century. 

A  curious  engraving  of  this  time  (Musee  Carnavalet) 
is  a  prospectus  of  the  Fabrique  de  Chantilly,  Oise,  In- 
dustrie frangaise  (sic),  which  shows  that  dresses  of 
blonde  were  then  made,  trimmed  with  three  flounces, 
and  also  caps,  scarfs,  and  lappets,  as  worn  by  the  seated 
lady  in  the  accompanying  illustration.  In  the  back- 
ground there  is  also  a  shawl,  with  a  bunch  of  flowers 
in  the  center  and  a  border  of  roses,  folded  in  such  a 
way  as  to  fall  in  double  rows,  as  was  the  custom  of  the 
time.  The  wide  gulf  which  separates  the  taste  of  the 
period  of  Louis  XVI  from  that  of  the  Restoration  is 


XXIV.    BEDSPREAD    FROM    LA    MALMAI8ON 

FROM    A    PHOTOGRAPH 
IN  THE    LIBRARY    OF    THE    MUSEE    DBS    ARTS    DECORATIFS 


XXV.    FROM    AN   ENGRAVING    IN    THE    MUSEE    CARNAVALET 


XXVI.    ADDRESS    OP    A    LACE-MERCHANT 
PERIOD    OF    LOUIS    XVI 


C  03  3 

very  marked  when  we  compare  the  prospectus  just 
described  with  that  of  Langlume  Jeune,  dealer  in  laces 
at  Bordeaux,  framed  with  a  charming  design  of  the 
period  of  Louis  XVI. 

Under  Louis-Philippe  laces  were  much  in  vogue, 
but  the  designs  of  this  period  can  hardly  be  cited  as 
models  of  style.  India  shawls  also  were  in  high  esteem, 
and  a  bride  would  have  thought  herself  neglected, 
were  not  two  or  three  in  her  marriage  chest.  The 
scarfs  and  rows  of  flounces  then  in  fashion,  can  be  seen 
in  the  picture  of  Queen  Marie  Amelie  in  the  Musee  de 
Versailles,  but  they  lack  character,  and  the  bunches 
of  flowers  in  the  design,  badly  arranged  and  very  con- 
ventional, often  resemble  the  palms  of  the  cashmere 
shawls. 

Under  the  Second  Empire,  there  was  a  large  con- 
sumption of  lace.  It  was  the  time  when,  according  to 
Felix  Aubry  (Report  on  the  International  Exhibition 
in  London,  i85i),  hand-made  lace  in  France  gave 
work  to  2^0,000  women. 

Very  beautiful  were  the  wedding  dresses  of  the  Em- 
press Eugenie,  trimmed  with  deep  flounces  of  Point 
d'Alengon.  The  city  of  Paris  offered  a  cradle  for  the 
baptism  of  the  Prince  Imperial,  the  rich  trimmings  and 
curtains  of  which  were  of  lace  worked  with  a  seme  of 
bees,  the  Imperial  crown  filling  each  corner. 

The  International  Exhibitions  of  i855  and  1867  m 
Paris  were  eras  of  great  prosperity  for  hand-made  lace. 


C  94  ] 

France  exported  to  all  countries,  supplying  Havana 
and  the  whole  of  Spanish  America  with  mantillas  of 
the  blonde  of  Caen,  and  of  Bayeux.  Large  pieces  of 
lace  were  then  made  —  court  trains,  skirts,  and  shawls 
in  deep  points.  One  of  the  latter,  made  of  black  lace, 
was  shown  at  the  Retrospective  Exhibition,  after  re- 
ceiving a  medal  at  the  Exhibition  of  1867.  The  design 
has  bunches  of  roses,  the  leaves  being  shaded  in  work- 
ing by  the  different  thickness  of  the  threads  employed 
—  a  novelty  at  that  time,  but  one  which  has  since 
been  used  for  all  kinds  of  lace. 

But  these  commercial  successes  of  hand-made  lace 
were  followed  by  a  crisis  which  can  be  attributed  to 
many  causes:  the  war  of  1870,  the  lessening  of  ex- 
portations,  the  increase  of  tailor-made  costumes  and 
sporting  attire  in  the  gay  world  —  all  of  which  im- 
pediments have  much  lessened  the  consumption  of 
lace.  A  large  number  of  lace- workers  were  obliged 
to  leave  a  trade  which  no  longer  assured  them  a  cer- 
tain means  of  earning  their  daily  bread. 

These  troublous  times,  far  from  diminishing  the 
artistic  value  of  hand-made  lace,  conduced  to  more 
energetic  efforts  on  the  part  of  manufacturers  to  re- 
tain for  their  industry  an  acknowledged  pre-eminence. 
Never  before  has  so  much  effort  been  made  to  dis- 
cover the  construction  of  ancient  stitches,  the  tradi- 
tion of  which  was  lost.  In  France,  Belgium,  and  Aus- 
tria, much  effort  has  been  devoted  to  renewing  the 


XXVII.     QUEEN    MARIE-AMELIE 

PAINTING    BY   WINTERHALTEB 

MU8EE    DE    VERBAILLE8 


C  97   ] 

designs,  and  finding  fresh  decorative  effects,  in  which 
the  utmost  advantage  could  be  taken  of  the  technical 
resources,  thus  establishing  the  making  of  hand-made 
lace  as  an  art-industry,  worthy  of  appearing  in  Muse- 
ums, and  in  the  Annual  Exhibitions.1  In  this  respect, 
considerable  progress  has  been  made  in  the  whole 
production  of  lace,  since  the  beginning  of  the  nine- 
teenth century,  a  progress  which  foreshadows  a  fur- 
ther renaissance  of  this  beautiful  industry. 

A  curious  instance  of  these  tentative  efforts  is  the 
book-cover  for  the  text,  in  Norman  dialect,  of  the 
Bull  of  the  Immaculate  Conception,  in  the  Library  of 
the  Vatican.  It  is  ornamented  with  the  escutcheons 
of  the  Archbishop  of  Rouen,  and  of  his  suffragans, 
the  Bishops  of  Bayeux,  Evreux,  Seez,  and  Coutances, 
who  had  it  executed  at  Bayeux.  The  arms  of  the  city 
of  Rouen  are  worked  in  relief  in  the  center,  on  a 
grounding  of  Point  d'Argentan,  while  the  other  four 
in  the  angles  of  the  frame  are  of  Point  de  Colbert. 

To  recapitulate  —  however  incomplete  this  part  of 
the  Retrospective  Exhibition,  it  nevertheless  showed 
an  ensemble  of  sufficient  importance  to  reaffirm  the 
high  position  occupied  by  the  laces  of  France.  It  was 
important  to  show  how,  through  its  artistic  traditions, 
and  the  delicacy  and  perfection  of  the  work,  lace  can 
aspire  to  a  high  place  in  those  Courts  of  Art  and  In- 

1  The  remarkable  revival  of  embroidery  and  lace  in  Italy  coincides  with 
that  of  the  northern  countries.    Note  by  the  Translator. 


C  98  1 

dustry  where,  by  order  of  merit,  are  classed  all  the 
products  of  human  activity. 

We  cannot  leave  this  subject  without  expressing  our 
thanks  to  the  collectors  who  have  allowed  us  to  re- 
produce the  specimens  which  they  lent  to  the  Exhibi- 
tion; without  these  illustrations,  our  text  would  lose 
its  chief  interest. 


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XXVIII.    BOOK-COVER  IN  POINT  COLBERT 

AND  POINT  D'ARGENTAN.    NINETEENTH  CENTURY 

LIBRARY  OF  THE  VATICAN 


EIGHTEENTH    CENTURY,    AUVERGNE 


SEVENTEENTH    CENTURY,     AUVERGNE 


XXIX.    WINDERS    FOR   LACE.      MUSEE    DU    TROCADERO 


INTERNATIONAL  EXHIBITION 

OF    1900 
French  Section 

General  Commissioner  of  the  Exhibition 
M.  ALFRED    PICARD 

Assistant  Director-General  of  the  Exhibition 
in  charge  of  the  French  Section 

M.  STEPHANE    DERV1LLE 

Deputy  in  charge  of  the  French  Section 
M.  ALBERT   BLONDEL 

Deputy  in  special  charge  of  the  Centennial  Collections 
M.  FRANCOIS   CARNOT 

Architect  of  the  Centennial  Collections 
M, JACQUES  HERMAN! 


COMMITTEE  OF  ARRANGEMENT 
FOR  THE  GLASS  84 

OFFICERS 

President:  M.  ANCELOT  (Alfred)  O.  $•,  Former  President  of  the 
General  Association  of  the  Commerce  and  Industry  of  Weav- 
ing, and  of  Textile  Fabrics.  Member  of  the  Chamber  of 
Commerce  of  Paris,  and  of  the  Permanent  Commission  of 
Custom  Valuations. 

Vice-President:  M.  HENON  (Henri)  •$•,  President  of  the  Syndical 
Chamber  of  the  Manufacturers  of  Tulles  and  Laces.  Treas- 
urer of  the  Chamber  of  Commerce  of  Calais.  Member  of  the 
Permanent  Commission  of  Custom  Valuations. 

Recorder:  M.  MARTIN  (Georges)  President  of  the  Chamber  of 
Laces  and  Embroideries. 

Secretary:  M.  GOULETTE  (Eugene)  President  of  the  Syndical 
Chamber  of  Passementerie,  Mercery,  Buttons,  and  Ribbons 
of  Paris. 

Treasurer:  M.  NOIROT-BIAIS  (Henri). 

MEMBERS 
MM.  BABOIN  (Emile). 

BELL  AN  (Leopold)  ££,  Syndic  of  the  Municipal  Council  of 
Paris. 

CROUVEZIER  (Charles). 

DARQUER  (Adolphe)  President  of  the  Chamber  of  Com- 
merce of  Calais. 

GUYE  (Henri)  Judge  of  the  Tribunal  of  the  Commerce  of 
the  Seine. 

HEUZEY  (Georges). 


MM.  ISAAC  (Auguste)  President  of  the  Chamber  of  Commerce 
of  Lyons. 

LEFEBURE  (Ernest)  O.  >£. 

LORE  A  u  (Alfred)  $fr,  Engineer  of  Arts  and  Manufactures. 
Former  Deputy  General  Councillor  of  the  Loiret.  Re- 
gent of  the  Bank  of  France. 

NEVEU  (Etienne)  Sfc. 
ROUSSEL  (Alcide)  Designer. 

SEBASTIEN  (Gustave)  Member  of  the  Tribunal  of  the 
Chamber  of  Commerce  of  Saint-Quentin  (Aisne). 

VACHON  (Marius)  Advertising  Agent. 


ARCHITECT 

M.  DE  MONTARNAL   (Joseph  de   Guirard)   Architect   for  the 
Government  (Diplome). 


COMMISSION  OF  THE  RETROSPECTIVE 
COLLECTIONS 

MM.  LOREAU  (Alfred). 
MARTIN  (Georges). 
NOIRET-BIAIS  (Henri). 

Recorder  for  the  Retrospective  Collection 

(Section  of  Laces) 
M.  LEFEBURE  (Ernest). 


(31  be  nUH-m&i'  PITS  s 

CAMBRIDGE  .  MASSACHUSETTS 
U    .    S    .    A 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 


AN     INITIAL     FINE     OF    25    CENTS 

WILL  BE  ASSESSED  FOR  FAILURE  TO  RETURN 
THIS  BOOK  ON  THE  DATE  DUE.  THE  PENALTY 
WILL  INCREASE  TO  5O  CENTS  ON  THE  FOURTH 
DAY  AND  TO  $1.OO  ON  THE  SEVENTH  DAY 
OVERDUE. 


MAY  23  1933 


(,0V 


LD  21-50™-!, '33 


04031 


55^790 


z&o 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


